Jonathan Foreman

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For 544 reviews, this critic has graded:
  • 42% higher than the average critic
  • 4% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 5.6 points lower than other critics. (0-100 point scale)

Jonathan Foreman's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Monsoon Wedding
Lowest review score: 0 Zombie! vs. Mardi Gras
Score distribution:
544 movie reviews
    • 85 Metascore
    • 50 Jonathan Foreman
    Visually flat and uninteresting and too often feels like a (leisurely paced) filmed play.
    • 42 Metascore
    • 50 Jonathan Foreman
    A crude, manic and embarrassingly unfunny satire that feels off from beginning to end.
    • New York Post
    • 47 Metascore
    • 50 Jonathan Foreman
    It's a film pregnant with comic possibility that ought to be much funnier than it is.
    • 16 Metascore
    • 50 Jonathan Foreman
    Predictable, rarely scary.
    • 54 Metascore
    • 50 Jonathan Foreman
    A gorgeously shot endurance test that is impossible to get through on anything less than a full night's sleep and a double shot of espresso.
    • 33 Metascore
    • 50 Jonathan Foreman
    Simply not up to the task.
    • New York Post
    • 47 Metascore
    • 50 Jonathan Foreman
    There are some decent jokes along the way. And none of the performances is bad. But they are limited by the script, which allows each character only one comic note.
    • 42 Metascore
    • 50 Jonathan Foreman
    Recycles the teen romantic comedies of the last few years...and it's easily the worst of the lot.
    • New York Post
    • 32 Metascore
    • 50 Jonathan Foreman
    Plays to none of Rock's strengths (even though he co-wrote the film with members of his HBO team) and intensifies his tendency to mug and shout.
    • New York Post
    • 44 Metascore
    • 50 Jonathan Foreman
    Although Vatel is trying to say something about freedom and gilded cages, it feels more like a behind-the-scenes look at the high-end catering business.
    • New York Post
    • 72 Metascore
    • 50 Jonathan Foreman
    Under the direction of Allan Moyle ("Pump up the Volume"), Nairn, McCarthy and Balaban give confident, believable performances but overacting plagues the rest of the cast.
    • New York Post
    • 48 Metascore
    • 50 Jonathan Foreman
    xXx
    Pumped-up, dumbed-down Bond, with tattoos instead of brains.
    • 31 Metascore
    • 50 Jonathan Foreman
    It's moody and atmospheric. But with the exception of a few cool moments that remind you of Ferrara at his best, it's dull and written with little attention paid to basic storytelling.
    • 43 Metascore
    • 50 Jonathan Foreman
    Has some entertaining moments, thanks mainly to Bullock herself, who is surprisingly glamorous as well as endearing.
    • 68 Metascore
    • 50 Jonathan Foreman
    Turns out to be an exercise in flatulent pretension, puffed up with a bogus, empty "spirituality" and dependent on a plot filled with implausibilities.
    • 61 Metascore
    • 50 Jonathan Foreman
    Courageous, convincing performance by Dunst.
    • New York Post
    • 59 Metascore
    • 50 Jonathan Foreman
    Merely a watery, poorly directed update of "Clueless."
    • 48 Metascore
    • 50 Jonathan Foreman
    It makes not just the "Thief of Baghdad" and the junky Ray Harryhausen movies of the '60s and '70s but even Disney's recent "Aladdin" seem positively multicultural by comparison.
    • 68 Metascore
    • 50 Jonathan Foreman
    Eyes Wide Shut is Stanley Kubrick's Hindenberg.
    • 15 Metascore
    • 50 Jonathan Foreman
    Much of Tomcats is actually boisterously, crudely entertaining.
    • New York Post
    • 49 Metascore
    • 50 Jonathan Foreman
    What makes Final Fantasy a final failure is a predictable, nonsensical plot, laughably lame dialogue and a surfeit of cloying environmentalist piety.
    • New York Post
    • 25 Metascore
    • 50 Jonathan Foreman
    Unoriginal but effective raunchy drag comedy.
    • 74 Metascore
    • 50 Jonathan Foreman
    Thereare moving moments in this over-hyped satire by the Israeli-Arab writer-director-actor Elia Suleiman, and it's fascinating to get a picture of daily life in prosperous Palestinian neighborhoods.
    • 32 Metascore
    • 50 Jonathan Foreman
    Could hardly be more predictable.
    • New York Post
    • 25 Metascore
    • 50 Jonathan Foreman
    Pretentious and trite.
    • New York Post
    • 70 Metascore
    • 50 Jonathan Foreman
    Strong cast is defeated by a labored, screenplay in this overlong, clunky love story.
    • 65 Metascore
    • 50 Jonathan Foreman
    In fact, for long stretches, especially during the first hour, it's as soporific as watching a bank of security cameras.
    • 58 Metascore
    • 50 Jonathan Foreman
    Better than any automobile flick put out by Hollywood in a while and, thanks to some genuinely exciting moments, it is easily the most entertaining so far of this summer's big, brainless action movies.
    • 30 Metascore
    • 50 Jonathan Foreman
    Not a movie but a live-action agitprop cartoon so shameless and coarse, it's almost funny.
    • 29 Metascore
    • 50 Jonathan Foreman
    About two-thirds of the way through, a stupid, hyperbolic sensibility takes control of the project, running it screaming off the rails.

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